The Film Foundation, the movie-restoration organization founded and chaired by Martin Scorsese, has partnered with the Pan African Federation of Filmmakers (FEPACI) and UNESCO in a project to locate, restore and preserve films made on the African continent. Dubbed the African Film Heritage Project, the group will identify 50 films with historic, artistic and cultural significance, then work to restore them.

King of Hearts has already been released on BD in France a few months ago using this restoration.The 2 Costa Gavras have been released in the French boxset in november 2016 (but wrongly encoded in 1080i50).

1946: La Bataille du Rail (Battle of the Rails) by René Clément (1h25, France): Grand Prix International de la mise en scène and Prix du Jury International.Presented by Ina. Film digitized and restored by Ina with the support of the CNC. 2K restoration made from an acetate interpositive and an answer print. Technical means: Jean-Pierre Peltier. Coordination: Bénilde Da Ponte, Brice Amouroux.

1953: Le Salaire de la peur (The Wages of Fear) by Henri-Georges Clouzot (1952, 2h33, France, Italy): Grand Prix.Presented by TF1 Studio in collaboration with la Cinémathèque française and the support of the CNC, of the Archives audiovisuelles de Monaco, of Kodak and the CGR cinémas. 4K Restoration from nitrate image negative and a sound duplicate made by Hiventy. Please note that this presentation is the preview of a major Clouzot event scheduled in France in the fall of 2017.

1956: Körhinta (Merry-Go-Round/Un petit carrousel de fête) by Zoltán Fábri (1955, 1h30, Hungary): in Competition.Presented by the Hungarian National Film Fund - Hungarian National Film Archive. A 4K Scan and Digital Restoration from the original 35mm image & sound negatives plus additional materials: the original dupe positive and another film positive. Restoration made by the Hungarian National Film Fund – Hungarian Filmlab.1957: Ila Ayn? (Vers l’inconnu ?) by Georges Nasser (1h30, Lebanon): in Competition.

Presented by Abbout Productions and Fondation Liban Cinema. With the generous support of Bankmed – Lebanon. The original 35mm Fine Grain Master Positive was scanned in 4k, retouched and color-corrected in a resolution of 2K. All works were carried out by Neyrac Films - France. Sound restoration by db Studios - Lebanon. In collaboration with The Talkies. World Sales: Nadi Lekol Nas.

1966: Blow-up by Michelangelo Antonioni (1h51, United Kingdom, Italy, United States of America): Grand Prix International du Festival.Presented by Criterion, Cineteca di Bologna and Istituto Luce - Cinecittà, in collaboration with Warner Bros and Park Circus. Restoration work carried out at Criterion, New York and L’Immagine Ritrovata, Bologna under the supervision of Director of Photography Luca Bigazzi.

1969: Matzor (Siege/Siège) by Gilberto Tofano (1h29, Israel): in Competition.A presentation of the Jerusalem Cinematheque – Israel Film Archive, in partnership with United King Films and the support of the Rabinovich Foundation. The original 35mm black and white negatives were scanned in 4K by Cinelab Romania. It was digitally restored and finalized in 2K by Opus Digital Lab in Tel Aviv. Restoration and color grading lead by Ido Karilla, supervised by DOP David Gurfinkel.

1970: Soleil O (Oh, Sun) by Med Hondo (1h38, Mauritania, France): Semaine de la critique.Presented by The Film Foundation. Restored by Cineteca di Bologna at L’Immagine Ritrovata laboratory in collaboration with Med Hondo. Restoration funded by the George Lucas Family Foundation and The Film Foundation’s World Cinema Project.

1976: Babatu, les trois conseils by Jean Rouch (1h33, Niger, France): in Competition.Presented by the CNC, Inoussa Ousseini, the Comité du film ethnographique and the Fondation Jean Rouch. Digital restoration made from the 2K digitization of the 16mm negatives. Restoration carried out by L21.

1976: Ai no korîda (In the Realm of the Senses/L’Empire des sens) de Nagisa Oshima (1h43, France, Japon): Quinzaine des Réalisateurs.Presented by Argos Films and TAMASA. Digization and 4K resoration from the original negative by Eclair. Sound restoration from the original magnetic sound by L.E. Diapason. The film will be released in French theaters.

1979: All that Jazz (Que le spectacle commence) by Bob Fosse (2h03, United States of America): Palme d’or ex-æquo.Presented by Park Circus. 4K restoration by Twentieth Century Fox and the Academy Film Archive in collaboration with The Film Foundation. The restoration was produced from the original camera negative at Sony Colorworks in Culver City California.

1982: Yol – The Full Version (The Way/La Permission) by Yilmaz Güney, directed by Serif Gören (1h53, Switzerland): Palme d’or ex-æquo à l’unanimité, Prix de la Critique Internationale – FIPRESCI.Presented by DFK FILMS LTD. Zürich. Restoration from the original 35mm negative, from the interpositive and the positive print. Restoration and new sound mix from the original digitized tapes. International Sales: The Match Factory.

1992: El sol del membrillo (Le Songe de la lumière) by Victor Erice (2h20, Spain): Prix du Jury ex-æquo, Prix de la Critique Internationale - FIPRESCIPresented by the Filmoteca de Catalunya and Camm Cinco SL. 6K scan, restoration and color-grading from the 35mm negatives and other original video tapes. Digitazing and sound restoration from 35mm magnetic tapes. Technical support made by the Filmoteca de Catalunya, supervised by Victor Erice. Variations on the initial editing brought by the director.

OTHER EVENTS, OTHER RESTORED PRINTS, OTHER GUESTSMadame de… by Max Ophüls (1953, 1h45, France)A Gaumont restoration. A show to pay a tribute to Danielle Darrieux for her birthday and presented by Dominique Besnehard, Pierre Murat and Henri-Jean Servat who will screen the latest filmed interview of Danielle Darrieux.

L’Atalante by Jean Vigo (1934, 1h28, France), restored 35mm printPresented by Gaumont, la Cinémathèque française and The Film Foundation of Martin Scorsese. First digital restoration in 4k and conversion to a 35mm print. A new discovery of the closest version of the director’s work thanks to Gaumont, Luce Vigo and historian Bernard Eisenschitz. Restoration carried out at L’Image Retrouvée laboratory in Bologna and Paris.

Native Son (Sang noir) by Pierre Chenal (1951, 1h47, Argentina)A presentation by Argentina Sono Film. Restoration with the collaboration of the Library of Congress.

Paparazzi by Jacques Rozier (1963, 18mn, France)Presented by Jacques Rozier and la Cinémathèque française. 4K Digitization and 2K restoration works made from image and sound negatives at Hiventy laboratory, with the support of the CNC and in collaboration with Les Archives Audiovisuelles de Monaco, la Cinémathèque Suisse and Extérieur nuit. The film will be introduced by Jacques Rozier.

Belle de jour (Beauty of the Day) by Luis Buñuel (1967, 1h40, France)Presented by STUDIOCANAL. Digitization from the original negative and 4K restoration carried out by Hiventy laboratory for STUDIOCANAL with the support of the CNC, of la Cinémathèque française, of the Fonds Culturel Franco-Américain and the Maison YVES SAINT LAURENT. French theater distribution: Carlotta.

A River Runs Through It (Et au milieu coule une rivière) by Robert Redford (1992, 2h04, United States of America)Presented by Pathé. 4K Scan and 4K restoration from original image and sound 35mm negatives. Restoration carried out by Pathé at Technicolor France laboratory for the image in collaboration with Philippe Rousselot, cinematographer of the film, and L.E. Diapason for the sound restoration.

David Stratton - A Cinematic Life by Sally Aitken (2017, 1h37, Australia)Presented by Stranger Than Fiction Films. Produced by Stranger Than Fiction Films, with Screen Australia, ABC TV Arts, Screen NSW and Adelaide Film Festival.Filmworker by Tony Zierra (2017, 1h29, United States of America)Presented and produced by True Studio Cinema.

Jonathan Rosenbaum on this resto:Quote:"February 13, 2017: Bernard Eisenschitz is currently carrying out a new restoration, reportedly in order to correct the more fanciful changes in the previous restoration that is being considered here.]"- it seems that Eisenschitz will delete some outtakes added to the film in 1990.https://www.jonathanrosenbaum.net/2017/ ... -s-secret/

Includes a Feuillade box (Fantomas, Les Vampires) and Gance´s J´Accuse (1919 and 1938 versions), on Blu, in a box, also including the 50s edit of J´Accuse, Gaz mortels (1916) and Le fin du monde (1930)

2017 interview with Jérômê Soulet, Gaumont boss for video, TV and new media:http://www.dvdclassik.com/article/entre ... umont-2017Upcoming: Malle´s Le Voleur and Viva Maria, restored on BluSoulet wants to do a complete Malle box but it remains for Gaumont to get the rights to three titlesHe also wants to do a big Claude Autant-Lara box, but some titles are owned by parties that do not finance restorations. "Douce" is not yet HD-ready (problems with one of the rights holders). Soulet says: "If I wait until it is all restored in HD, the box will never be released" (my paraphrase).

I hope this is the relevant sub-forum where I could post this topic, since these studios are in Europe and tackle mainly with international films' restorations.

I think it's time there was a seperate topic about these 2 studios, because we see many posts here and there about certain films and how they change their colors to a specific palette despite year, DOP, director, ethnicity.At best, the teal affects mainly the greys-blues.At worst the teal affects the whole image like in this situation:

-Do you agree, that there is evidently a trend in the restorations by these 2 studios or is it just a pure coincidence (or a conspiracy theory ) that dozens of films look exactly the same?if you agree with the first part of my previous question I go on:-Why do these studios keep going and do what they do?-Why this problem hasn't been addressed more officially on the internet but we turn the blind eye?-Why don't any of the more knowledagble and in the restoration business persons say anything about it and do something to stop it?

Anyway, I hope we have a civil converstation on this matter, which has proven most controversial at other times.

edit:I see, my thread was moved.Well, this is exactly what I meant.Why can't we have a seperate thread, and maybe draw the attention to what's happening there?if we keep burrying the subject, this thing will go on an on.

Report of the most recent CNC sessions (April) lists restorations of Jacques Rivette's L'amour fou, Godard's Grandeur et décadence d'un petit commerce de cinéma, Resnais' Last Year in Marienbad, Bresson's Trial of Joan of Arc and Renoir's Rules of the Game amongst others.

Are silent film restorations of films before 24fps became standard, generally restored to playback at the correct speed at when show at 23.97/24p? I'm wondering specifically whether this was the case before HD was standard and the expectation was that they would primarily be seen on a PAL DVD?

With an HTPC, I can get my PAL DVDs playing back at 24p. Do I want to watch the Chaplin Keystone and older Edition Filmmuseum titles like so, or am I introducing slowdown when they were specifically restored for PAL viewing?

The rushes program at Bologna for Vigo were for l'Atalante, Kevin. I don't recall any rushes program there for Zero. There was a short commentary on the extra minute or so (in three shots basically) for Zero which all amplify the part of Tabard, the queer kid. They are sublime, including a long bedside lover's good night between Tabard an one of the other boys where they start the first talk of a revolt. The first slightly longer shot is the gruesome chalk covered old teacher who fondles Tabard's hand for too long provoking hm to the great outburst ("je vous dit merde!"). And there's a silhouette shot of the "inpector" sticking a hypodermic into his arse.

The 11 reels of rushes are all for l'Atalante and are essential for life. Amongst it all, the cats, Vigo himself snapping the clap board, are four single takes of the Peddler singing his nonsense song to the bar, shot from above, each side of the "cage": with the couple on the other side and within the cage with a tilting camera, all with audio unlike most of the 11 reels. Esienschitz narrated this powerhouse live from offscreen in French, his contribution is of course critical to any possible BD release.

Are silent film restorations of films before 24fps became standard, generally restored to playback at the correct speed at when show at 23.97/24p? I'm wondering specifically whether this was the case before HD was standard and the expectation was that they would primarily be seen on a PAL DVD?

With an HTPC, I can get my PAL DVDs playing back at 24p. Do I want to watch the Chaplin Keystone and older Edition Filmmuseum titles like so, or am I introducing slowdown when they were specifically restored for PAL viewing?

Shiraz: A Romance of IndiaFilm remastering and new score supported using public funding by Arts Council England, alongside additional support from Matt Spick; PRS Foundation’s ‘The Open Fund’; the George Harrison family, on behalf of the Material World Foundation; and all donors to the BFI’s Film is Fragile fundraising campaign. The restoration and new score are part of the BFI’s contribution to the UK-India Year of Culture 2017.

The Dumb Girl of Portici2K restoration and editing by George Willeman and Valerie Cervantes, Library of Congress. Further restoration by Lori Raskin, An Affair with Film with Milestone Films. Materials courtesy of the BFI National Archive, Library of Congress and the New York Public Library Jerome Robbins Dance Division.

Frantz Fanon: Black Skin White MaskThe film was digitally remastered in 2K through the BFI’s Unlocking Film heritage programme.

Funeral Parade of Roses Digitally restored in 4K resolution from the original 35mm negatives by Cinelicious in Los Angeles. 4K scanning by IMAGICA Corporation in Japan.

Jabberwocky Restored in 4K by the BFI National Archive and The Film Foundation, with funding provided by the George Lucas Family Foundation.

The L-Shaped Room Restored in 4K by Sony Pictures Entertainment. In collaboration with the BFI’s Unlocking Film Heritage Programme.

Lucía Restored by Cineteca di Bologna at L’Immagine Ritrovata laboratory in association with Instituto Cubano del Arte e Industria Cinematográficos (ICAIC). Restoration funded by Turner Classic Movies and The Film Foundation’s World Cinema Project. Special thanks to Bundesarchiv-Filmarchiv and the BFI National Archive.

A Matter of Life and DeathRestored in 4K by Sony Pictures Entertainment

Mildred Pierce 4K Restoration by Criterion and Warner Bros.

Oh, Sun! Restored by Cineteca di Bologna at L’Immagine Ritrovata laboratory in collaboration with Med Hondo. Restoration funded by the George Lucas Family Foundation and The Film Foundation’s World Cinema Project.